Royal patronage for Indian classical dance forms

By Subashini. PATHMANATHAN

The Indian classical dance forms are closely linked to Hindu tradition and influenced by Hindu religion, and based on Natya Shastra. Most of the Indian classical dances had their origin in the temples and the temple environs. In one way or another dance forms enjoyed the royal patronage. Sathir dancers were given full support and encouragement by various kings, at different periods. The kings themselves, engaged the dancers to serve in temples, and provided all the facilities, to continue their services. Later these temple dancers became court dancers. Especially, during the Chola period there is evidence, which provides a wealth of information about temple dancers, and court dancers. In the royal courts, the poets, who composed songs, were called Asthana Vithakars, and those who composed the music for the poems, were called Asthana Kavijars, and those who danced for poems were called Asthana Narthakis.

Manipuri dancer

Similarly, another Indian classical dance form is Kathakali. Kathakali, originated in royal courts, and later it moved to the temples. Before the birth of Kathakali, Chakkaier Koothu was more popular, what is now known as the Kerala State . It was performed by the male members, of a particular caste called Chakkaier who had the hereditary right to perform. The basic theme of the dance was gathered from epics, and puranas.

Kathakali had its origin from Krishnaatam, during the reign of king Maanadevan of Calicut in the 17th century. The Krishnaattam was based on lord Krishna 's stories. The literature for Krishnaatam was in the Sanskrit language. The Kottakari king of south Kerala, requested Maanadavan to stage the Krishnaatam at his court. Due to the refusal of Maanadevan, the brokenhearted King Kottakari Raja, introduced Ramaraatam, which was similar to Krishnaattam, but the story was based on Lord Rama, the poetic verses were in the regional language Malayalam. In the Ramaraattam, exquisite facial expressions, beautiful hand gestures, were used, sidemen call accompaniments were employed. In later years, this dance form adopted various themes including other Puranas and Ithikas stories. Firm vigorous movements, Thandava stances, subtle Lassiya movements, various martial techniques, were introduced. With the passage of time, the name Krishnaattam, and the name, Ramaraattam disappeared, and the dance form gained the name Kathakali. Royal patronage, was given by the rulers, especially by the Travancore rulers, namely Balarama Varma, and Swaathithirunal Maha Raja.There is evidence that in the Travancore Palace Kathakali troupes were available to perform regularly.

The north Indian classical dance form Kathak, derived its name from the word, Katha. Katha means story. Kathakar (storytellers) belonged to a particular caste, which was actually responsible for the development of this dance form, and Kathak was attached to the temples. The firm development of Kathak dance form, originated during the15th century. The main theme or stories in this dance form were on Radha, Krishna themes, with bakthi cult. Mostly, the Radha Krishna bakthi cult was based on the dramatic play call Rasalila.This dance form included melodious music, beautiful rhythmic dances, and dramatic narrations in between the dance. During the period of Muslim reign, this dance form moved from temples to courts. Initially it developed in two different regional and religious courts. One was in the Muslim courts, and other was in the Hindu courts. Anyhow, in both courts this dance form was cherished and preserved with the same spirit as a stylized entertainment.

In Rajasthan Hindu, royal courts gave more prominence to nirtha aspect (pure dance movements). Meanwhile in the Muslim courts in Delhi , Agra , and Lucknow , the dance form developed with normal life moods, and life passions. Hence, naturally it gave more importance to expression, Bhavas, and Rasas in Jaipur. The execution of this art form gave birth to two different styles. One is the Jaipur style, and other is the Lucknow style. The devotional music kirthans, during the period of the Moghal emperors the Khayal, Drupad, Thumpri and Ghazal were the musical concepts, introduced as the musical base for this art form. In the19th century, during the reign of King Wajid Ali, the Lucknow style gained recognition and the king gave full support and encouragement for the development of this art in his royal court. One of the main founders of this style was Thakur Prasad and his three sons served in the court of King Wajid Ali. The style differences as in any art form are the masterwork of different gurus of different areas. (Without changing the basic concepts of the art form).

The king of Raigarh of Madya Pradesh, Chakraradhar Singh, gave the royal patronage to both styles of kathak. Both these styles have beautiful aesthetic essence and attractive stances.

Manipuri dance like all other Indian classical dance forms has its roots, in deep devotion, and spiritualism. The King Bhagaya Chandra was a famous king who ruled Manipur during the period of 1759 to 1798 A.D. He was deeply involved in culture and religion. He himself excelled in prose, poetry, philosophy, dance, drama, and music. The kings and the queens were very much involved, with the traditional art forms, mainly dance and music. Even the queen herself danced with the public, in the same public places, and the common masses were not restrained from seeing the performances. Generally, the dance was common to all; there was no barrier for caste or creed. The dance was not practised just for mere entertainment, but with deep dedication and devotion. After the era of king, Bhagaya Chandra, the kings in his lineage, gave full support, and patronage for the dance, and other art forms.

Even the development of thalas in Manipuri is still identified with the rule and period of individual kings.

Odissi, another classical dance form, received full royal patronage by different kings of different eras. According to one of the inscriptions, during the king Kharavela, of second century B.C, encouraged the dance and music forms, by carving the figures of dancers and musicians in the caves.

The Jaganath temple of Puri was built up, during the reign of King Chodaganga Deva, who belonged to Ganga dynasty and his dynasty lasted more than four decades. (The Ganga dynasty lasted for more than four centuries). Chodaganga Deva introduced the Maharis (devadasis) to serve in the Lord Jaganath temple, at Puri. Still his contribution to the art is recognised and remembered in Orissa, (earlier Orissa was called Orda Desh).Interpreting the meaning of the songs through dance was generally done through hand gestures, and facial expressions. This type of interpretation of songs through dance was introduced in Odissi, during the Suriya Dynasty.

During this period, the Maharis were trained to perform dance inside the temples. The minister Mahakeswar Mohatra of King Narayanadeva's court wrote 'Abinaya Chanrika', which is still considered as a complete work on Odissi dance. Later the Odissi dancers were divided into three different categories, one was temple dancers, Maharis, other was the royal court dancers, Nachunis, and the other was the Gothipus, the male dancers who performed before the public. With the passage of time due to the political changes, mainly during the Muslim and alien rule the dance lost the religious values, and the art was persevered for entertainment. Generally, most of the Indian classical dance forms enjoyed the royal patronage to some extent. Due to the royal patronage and encouragement all, the Indian classical dance forms have developed and acquired worldwide recognition today.